Filme, fotografia e memória invisível

The photographic image, either still or moving, is considered a fair and representative archive of past events, given its mirror nature of reproducing the world. However, in their purely documental function, photography or film do not represent the "tone" of the story that was recorded in the images. But it may be that it is the atmosphere that is expressed through the images that is able to awake memory and turn the story not only into something visible but also into something sensible.

Risk analysis in a Portuguese archive what has changed in five years?

The Cultural Property Risk Analysis Model was applied in 2006 to a Portuguese archive located in Lisbon. Its results highlighted the need for the institution to take care of risks related to fire, physical forces and relative humidity problems. Five years after this first analysis the results are revisited and a few changes are introduced due to recent events: fire and high humidity remain an important hazard but are now accompanied by a pressing contaminants problem. Improvements in storage systems were responsible for a large decrease in terms of calculated risk magnitude and proved to be very cost-effective.

Photographic source for the history of portuguese-speaking Africa, 1870-1914

History in Africa, n.18, pág.67-82

Contributos para a descrição arquivística dos álbuns fotográficos do serviço do Ultramar na Fundação Calouste Gulbenkian

O presente Relatório de Estágio descreve as actividades levadas a cabo no Arquivo da Fundação Calouste Gulbenkian em torno do objecto de estudo constituído pelos álbuns fotográficos do Serviço do Ultramar, que se apresentam e caracterizam. Os trabalhos desenvolvidos compreendem a descrição das peças que os compõem, apresentando contributos ao nível da descrição da documentação fotográfica em contexto arquivístico e em complementaridade à existente, com o objectivo de gerar descrições uniformes e coerentes, promovendo uma melhor recuperação e acesso à informação tendo em vista a sua disponibilização ao utilizador. Paralelamente à dimensão arquivística e atendendo ao seu contexto de produção administrativa, são ainda abordados e apresentados aspectos de índole teórica associados à função probatória e papel institucional da produção de imagens com carácter de representação e a sua utilização pela instituição.

Fotografia-História, o pensamento em imagens : Contributos para a leitura de «História da Imagem Fotográfica em Portugal, 1839-1997» (António Sena, 1998) como um hiperdocumento

Com esta investigação pretende-se caracterizar a relação indissociável entre História e Fotografia, reconhecendo as múltiplas formas de manipulação e respectivos mecanismos de hierarquização de poder, que não apenas determinam o desenvolvimento da sua produção, arquivo e recepção, como desvendam uma constelação de ligações disciplinares, técnicas e políticas que potenciam e moldam o seu sentido. Esta problemática é analisada no contexto português, a partir das práticas de exposição, publicação e colecção fotográfica e consequente ajuste do discurso teórico e crítico nas décadas de 1980 e 1990, adoptando como eixo de pesquisa o trabalho de investigação e historiografia desenvolvido entre 1973 e 1998 por António Sena e, especificamente, o modo como aplica a História (de um meio) como hiperdocumento. O filme Olho de Vidro, uma História da Fotografia (1982), realizado por António Sena e Margarida Gil, as iniciativas fotográficas desenvolvidas pela associação ether/vale tudo menos tirar olhos entre 1982 e 1994, a criação da base de dados Luzitânia/ ether pix database e as publicações Uma História de Fotografia (1991) e História da Imagem Fotográfica em Portugal, 1839-1997 (1998) da autoria de António Sena, formam o corpus do nosso estudo de caso.

Arquivo Histórico de Chaves

Relatório de estágio de mestrado em História

Siliceous deep-sea sponge Monorhaphis chuni: A potential paleoclimate archive in ancient animals

The deep-sea sponge Monorhaphis chuni forms giant basal spicules, which can reach lengths of 3 m; they represent the largest biogenic silica structures on Earth that is formed from an individual metazoan. The spicules offer a unique opportunity to record environmental change of past oceanic and climatic conditions. A giant spicule collected in the East China Sea in a depth of 1110 m was investigated. The oxygen isotopic composition and Mg/Ca ratios determined along center-to-surface segments are used as geochemical proxies for the assessment of seawater paleotemperatures. Calculations are based on the assumption that the calculated temperature near the surface of the spicule is identical with the average ambient temperature of 4 degrees C. A seawater temperature of 1.9 degrees C is inferred for the beginning of the lifespan of the Monorhaphis specimen. The temperature increases smoothly to 2.3 degrees C, to be followed by sharply increased and variable temperatures up to 6-10 degrees C. In the outer part of the spicule, the inferred seawater temperature is about 4 degrees C. The lifespan of the spicule can be estimated to 11,000 +/- 3000 years using the long-term trend of the inferred temperatures fitted to the seawater temperature age relationships since the Last Glacial Maximum. Specimens of Monorhaphis therefore represents one the oldest living animals on Earth. The remarkable temperature spikes of the ambient seawater occurring 9500-3100 years B.P. are explained by discharges of hydrothermal fluids in the neighborhood of the spicule. The irregular lamellar organization of the spicule and the elevated Mn concentrations during the high-temperature growth are consistent with a hydrothermal fluid input. (C) 2012 Elsevier B.V. All rights reserved.

Photographic art and dealing with death

Recently, we were faced with a request from a student photographer who wanted to take pictures of bodies donated to our institute and used for dissection courses for medical students or for scientific purposes. Students are expressly forbidden to take pictures in the dissection hall; however, we allowed this student photographer to do her diploma work in our institute. The reason why she was proposing such a topic was that her brother died young and her parents donated his body to science. To overcome this loss of a loved one, she wanted to know what happens to the donated bodies. She followed the procedure of embalming and different dissections that took place during the summer semester and she took pictures throughout. The outcome of this work was a very nice photographic document, called 'dissection', a book with many pictures but no figure legends. The image document shows the different steps in the preparation and preservation of bodies and the work of an anatomist in the dissection hall. As we impose rules on our students, we had also to give directives in the use of the photographs taken, especially for a photographer who will use the most prominent pictures for exhibitions, i.e. that the pictures do not show names or are used for publication on the internet, or show identification numbers of cadavers, or give indication ofn the institution and are relatively anonymous. This story tells how one can deal with death and at the same time advance one's personal career. The author represents the Swiss Anatomical Society SGAHE and is supported by the Swiss Academy of Science, ScNat.

Growing up in Ireland data in the Irish Qualitative Data Archive

Brian Merriman's presentation on the Growing up in Ireland data in the Irish Qualitative Data Archive

The Timescapes Archive

Brenda Phillips presentation on the UK The Timescapes Archive

CDI Tallaght RACCER data in the Irish Qualitative Data Archive

Tara Murphy's presentation on preparing RACCER data for the Irish Qualitative Data Archive

The Irish Qualitative Data Archive

Jane Gray's presentation on the Irish Qualitative Data Archive